Magna Graecia is a collection of terracotta objects designed by Antonio Aricò for Seletti and presented at Maison&Objet in January 2023. The name refers to the Greek cities of Southern Italy, and the pieces draw on their vocabulary: capitals, meander friezes, waves, antique busts, and amphora...
Magna Graecia is a collection of terracotta objects designed by Antonio Aricò for Seletti and presented at Maison&Objet in January 2023. The name refers to the Greek cities of Southern Italy, and the pieces draw on their vocabulary: capitals, meander friezes, waves, antique busts, and amphorae depicting battle scenes. Aricò chose terracotta for its ordinariness—"a seemingly very humble material with which one can create magic," he told designboom—as well as for its raw color and the irregularity of its thickness, which he embraces rather than corrects. The pieces are shaped using handmade molds, which explains why no two are exactly alike: the shade and surface texture vary from one piece to the next. The designer intends for them to be used on a terrace, in a garden, or on a veranda just as much as in a living room or entryway. Seletti, however, provides no information regarding glazing, frost resistance, or water-tightness; for outdoor use, a sheltered location remains the prudent choice. All pieces in the series share the same clay, allowing them to be grouped together without worrying about differences in finish.
This particular vase is the pink version. The head forms the body of the vase, with the opening at the top. Dimensions: W 24 × D 22 × H 32 cm.
Where the design comes from
Magna Graecia refers to the cities founded by Greek colonists on the coasts of Southern Italy and Sicily starting in the 8th century BCE. Aricò, who was born and is based in Calabria, draws inspiration motif by motif: the Dorico vase cites the Doric order, the Greca vase the meander frieze, the Onda vase the outline of a wave; the statues reference the Riace bronzes, and the head vases draw on the tradition of Caltagirone ceramic heads. The capital no longer sits atop anything: it serves as a base or pedestal. The collection forms an archaeological repertoire treated without solemnity, which the publisher presents as contemporary irony.
